Simple yet intriguing. Moody yet innocent. Melachonlic yet very expressive. We could go on like this forever when describing photographer Eric Guillemain's work. All a little contradicting to themselves. At first sight, it all seems pretty safe. Pretty honest, and without much exaggeration. But when you take a closer look - take a look at the girls he chooses, the poses, the strenght and at the same time vulnerability the models in his shots radiate - you'll see what's behind this absurd simplicity. Usually, it's the best to let the pictures do the talking. And just let them shine, and effect on the observer. In this case: we had the amazing opportunity to talk to Eric himself.And of course, we won't keep back such an amazing piece of read from our readers:

1. First of all, has it always been your dream to make money with photographing? How did you get started in the business?
Starting photography has been totally accidental.
I was very into music before, and a singer in a french band called "Venice". My dream has always been to make it with my voice. But...while moving to New York City I had the opportunity to work on fashion shoots as a digital technician. After a while I began taking portraits at home and to my surprise they turned out to be selected in the Avant Guardian photographers issue of Surface Magazine.
I was not really prepared for that as there were so much things I had to learn about photography (and even more about fashion). Basically I think I decided to follow that new path because of sheer curiosity. With no reference point in this field, I felt it was highly dangerous of course but also very fresh and reviving.

2. What makes a girl interesting for you to shoot with her? Is there a certain "type" of model you prefer?
Much more than astounding beautiful girls I like to shoot courageous girls.
I mean those who listen to their hearts and bodies without being stuck to the recommendations of the mind. By "recommendations of the mind" I mean everything keeping you on the tracks. The role you must play in society to the others or to yourself. This is tricky because in that case I like her to even forget about being a model and playing model in front of the lens! And even trickier when she mustn't "show" anymore that she is a model. My version of a good picture is a picture where you can neither see a model/ anti-model nor photographer acting in it.

3. What is your definition of "natural beauty"?
Natural beauty is happening under the surface of things. It is nobody's property really.
You can point towards it and just shiver when she clears out. But you cannot define or measure it like an object of science.

4. Before a shoot, do you talk to the model you are going to shoot with and try to make a connection? Or do you rather wait and then get inspired by her actions in fron of the camera?
Definitely a connection has to be made, either before or during the shoot.
But not necessarily with words. Silence is also a way. A good balance between words and silence and according to the person you are dealing with. You cannot create anything without language.
Before the shoot the talking is more common like "Where do you live ?" "Where were you born ?" Then during the shoot my talking becomes more essential, more "being" than "communicating" I don't really give precise informations and don't need precise answers, it is more like poetry, emotions coming from what I see through the lens. It could be surprising for some models. So in that case I just tell them to listen to the sound and not to the words and to trust their own feelings.

5. Do you think good movement and the charisma in front the camera, is something a girl gets born with, or is it possible to learn all these things?
Charisma is truly a gift. Like in music or mathematics, you can always learn and improve but with some geniuses in the matter it is impossible to compete.

6. What about (like some people want to call it) "the greatest invention ever" - airbrushing and Photoshop. Do you think it is essential to produce a flawless picture?
I prefer "timeless" than "flawless" pictures. And I don't think Photoshop can produce timeless pictures. Timeless pictures cannot be "produced" they just happen.
Actually "Photo-shop" is a very good name for a software allowing people to turn pictures of a raw emotion into products and packaging them according to the rules of a market. It could also be used as a powerful darkroom and this is how I am just using it. Managing too many resources is too much of a big deal. My tendency is rather to reduce them. In post-production and even production I try not to involve too much intelligence or strategy in the picture. Because in the end you don't see a "moment" you just see the producer at work. You see his means in a model's eye or in her positioning and then you see his means in the special effects and in the way the image has been distorted. He haunts the picture.
This is really personal but I feel like everybody involved in production should disappear in a way to obtain real timeless pictures. Otherwise they are just products. But you know, the human-being of today is more like a human-consuming. They starve for entertainment. They need products and even more products for being entertained. Therefore, Photoshop is providing them good.

7. You have already worked with big names (Tanya Dziahileva, Jessica Stam) but also shot some New Faces. What kind of feeling is it for you, to have an "established" and already "semi-skilled" model in front of your lense, compared to a totally new girl? Do you take it as a chance to "form" the girl the way you want her to be in your shots, or is it more convenient for you when she already knows her moves and what she wants to express.
Usually at a certain level, some established models don't want to express anything.
They just do their job and quite often for the better. Their mind is not really there. What they bring is more like an intelligence of the body at work. It is automatically true. While some new comers are more passionate they want to make it good, they do too much and it may look fake and forced. The good thing with newcomers is the moment when they keep the uncertainty and fragility of the situation without trying to interfere with useless poses. I am doing a little study called "The truth" these days on my blog. I am photographing models as nothing really happens in front of the lens. Or more precisely, just "before" something happens. They just stand as "possibilities" in front of a semi-dark background.

8. When working for a client, does it affect your personal photography-style when you have a (more or less) strict concept to follow?
It is always possible to do things and preserve some good taste by following any concept.
But regarding fashion if you are asked to shoot cheesy clothing, I suppose it is hard not to give up with your integrity.

Outtake of Eric's "The Truth"-study

9. What would be your dream (magazine) to work for?
"Courage", "Hit and Miss" or this magazine called "Pseudonyms" where nobody signs by its real name. It is full of anonymous acts just for Art sake!

10. Is there anyone (photographer, painter, model, any person) who gives you inspirations for what you do/ someone whose work you admire?
Real inspiration is an inspiration that comes to you on the spot. It's like fish: which is more tasteful when it's not from the same day.
Artists that I like are not the very demonstrative ones, they tend to withdraw behind their deeds. Not for purpose but rather as a consequence of their honesty.

11. Which kind of camera do you work with?
I use a Nikon D3.

12. If you could chose one model to shoot with (from any decades) who would you want to have in front of your lense?
I am always afraid to be disappointed by people I tend to idealize.
So pardon my cowardice but I would prefer to be chosen than to choose - chosen by Natalie Portman for example!